In honor of Black History Month, on February 23/24 at 12pm PST,The Paley Center for Media in Beverly Hills, CA is screening a FREE Queen Sugarmarathon. It’s a chance for Queen Sugar fans to come together and enjoy several of their favorite episodes from the OWN series.
Exclusive merchandise will be given out to fans on a first come, first served, while supplies last.
Screening Schedule:
“First Things First”
In the series premiere, directed by award-winning filmmaker Ava DuVernay (Selma), Charley, a savvy wife and manager of a professional basketball star living an upscale Los Angeles lifestyle, returns to her family home—an 800-acre sugarcane farm in the heart of Louisiana—after her father suffers a stroke and she receives alarming news about her husband. There, she reunites with her estranged siblings Nova and Ralph Angel. Together, they must navigate the triumphs and struggles of their complicated lives in order to run an ailing farm in the New South. (2016; 44 minutes)
“Give Us This Day”
Charley continues to make calculated choices regarding Davis’s (Timon Kyle Durrett) basketball career and her desire to secure an investor. Nova and lover Calvin (Greg Vaughan) finally reunite, but their union causes controversy in the community. Davis attempts to repair his relationship with son Micah (Nicholas L. Ashe), but he faces resistance. Aunt Violet (Tina Lifford) learns of Hollywood’s (Omar J. Dorsey) departure and tries to make amends, and Ralph Angel makes a shocking discovery that changes everything. (2016; 43 minutes)
“After the Winter”
Charley and Davis remain entangled, Ralph Angel tries to find his footing on the family farm, and Aunt Violet confronts her feelings for Hollywood. Plus, Micah has a dangerous encounter with a police officer. (2017; 43 minutes)
“Dream Variations”
Charley’s shocking plan to save her business puts her relationship with Remy in jeopardy. Hollywood proposes to Violet, and Nova and Remy share an unexpected moment. Finally, Ralph Angel decides if he can forgive Darla. (2017; 65 minutes)
“From on the Pulse of Morning”
Ralph Angel receives some unexpected news, the fate of the correctional facility is revealed, and Charley makes a proposal on behalf of the farmers. Plus, Violet and Hollywood celebrate their love. (2018; 60 minutes)
About The Paley Center for Media:
The Paley Center for Media is a nonprofit organization with locations in New York and Los Angeles which works to expand the conversation about the cultural, creative, and social significance of television, radio, and emerging platforms. Drawing upon its curatorial expertise, an international collection, and close relationships with the leaders of the media community, the Paley Center examines the intersections between media and society.
The general public can access the Paley Center’s permanent media collection, which contains over 160,000 television and radio programs and advertisements, including the expanded collection of African-American Achievements in Television, and participate in programs that explore and celebrate the creativity, the innovations, the personalities, and the leaders who are shaping media.
Dr. Saint Elmo Brady (Credit: University of Illinois Archives)
According to jbhe.com, Dr. Saint Elmo Brady, the first African-American to receive a Ph.D. in chemistry, has been honored by the American Chemical Societywith a National Historic Chemical Landmark dedicated to him on the University of Illinois campus, where Brady earned his Ph.D. in 1916.
Additionally, plaques in his memory will be mounted on the campuses of four HBCUs where he served on the faculty: Fisk University, Tuskegee University, Howard University, and Tougaloo College.
Dr. Brady was born in Louisville, Kentucky in 1884. He earned a bachelor’s degree from Fisk in 1908. After graduating from Fisk, he taught for four years at Tuskegee before leaving to earn his Ph.D. at U. of Illinois. He returned to teach at Tuskegee once again, followed by positions at Tougaloo, Howard, and Fisk. He served as chair of the chemistry departments at both Howard and Fisk. Dr. Brady passed away on December 25, 1966.
“This landmark designation recognizes the outstanding accomplishments and leadership impact that Dr. Brady has had on the chemical profession,” says ACS Immediate Past President Peter K. Dorhout, who presented the plaque at the designation ceremony on February 5.
“I am proud to be an alumnus of the university that was part of his legacy — dreaming, designing and executing the creation of four outstanding and impactful chemistry programs that have each worked to ensure access to higher education and the chemical professions for so many young African-American men and women over the last century.”
If you are a medical professional (particularly a Black medical professional), or just an overall Black history buff, you likely have heard of Mary Eliza Mahoney.
For those who have been denied tales of Mahoney’s excellence, she is heralded as the first African-American licensed nurse.
Mahoney worked in nursing for almost 40 years before retiring, but during her time as a medical professional, as well as long after, she was a champion of women’s rights. A trailblazer, not just as a Black person, but also as a woman.
Mahoney’s story starts in 1845 in Boston, where she was born to freed slaves. Her exact date of birth is unknown, but she is believed to have been born in the spring, the National Women’s History Museum notes.
Even as a teenager, Mahoney knew she wanted to become a nurse, and she began working at the New England Hospital for Women and Children, which, as its name suggests, provided health care exclusively to women and their children. At the time, the hospital was also known for its all-women staff of doctors.
There, Mahoney worked from the ground up over the next 15 years, in jobs such as janitor, cook and washerwoman, while also seizing the opportunity to work as a nurse’s aide.
The hospital operated one of the first nursing schools in the United States, and as you can probably guess, in 1878 a then 33-year-old Mahoney was allowed to enter the hospital’s professional graduate school for nursing. During the intensive 16-month training program, students attended lectures and got hands-on experience in the hospital.
The program was rigorous, and according to the Women’s History Museum, of the 42 students who entered the program, only four, including Mahoney, completed the requirements in 1879. In the same breath, she became the first Black person in the U.S. to earn a professional nursing license.
Mahoney would go on to serve as a private-duty nurse for the remainder of her impeccable career (she decided against public nursing because of the rampant discrimination there) and became known across the East Coast for her “efficiency, patience and caring bedside manner,” according to the Women’s History Museum.
A staunch advocate of those within the profession, Mahoney became a member of the Nurses Associated Alumnae of the United States and Canada (NAAUSC, later known as the American Nurses Association) in 1896. But she faced discrimination at NAAUSC, which had a predominantly white membership, so Mahoney took it upon herself to co-found the National Association of Colored Graduate Nurses (NACGN) in 1908.
It’s official — the upcoming third season of National Geographic’s scripted anthology series Geniuswill be devoted to the Queen of Soul Aretha Franklin, who died in August at age 76. The announcement was made Sunday at TCA.
Suzan-Lori Parks, Pulitzer Prize award-winning playwright of Topdog/Underdog, will be executive producer and showrunner of the project, from Imagine Television and Fox 21 TV Studios. Music mogul and longtime Franklin collaborator Clive Davis as well as Atlantic Records chairman and CEO Craig Kallman also executive produce.
Genius was renewed for a third season in April, with author Mary Shelley revealed as its subject, to follow Albert Einstein and Picasso. The Mary Shelley story remains in consideration for future installments of the anthology series.
The idea of doing a Franklin-centered Genius came together quickly following the music icon’s August 16 death, spearheaded by Imagine’s Brian Grazer. The project had been moving full steam ahead since, with securing access to Franklin’s music considered the one key element that would clinch a green light.
Bringing David, Kallman and Warner Music Group on board was very important in that aspect, with the producers currently able to use about 80% of Franklin’s catalog and working to secure the remaining titles.
Battalion Chiefs Queen Anunay, left, and Kishia Clemencia in Washington. Both lead mostly male teams in a field dominated by men. (Bonnie Jo Mount/The Washington Post)
Young cadets Queen Anunay and Kishia Clemencia stood out in their class at the D.C. Fire Academy as being among the few women in a male-dominated field. Of the department’s 1,550 members at the time, 35 were women.
Fast forward nearly three decades, and Anunay and Clemencia are the ones in charge.
The two women were appointed in recent months to battalion chief posts at the department — promotions that made them the third and fourth women to hold the positions in the 135-year-old department’s history. There were no women among the department’s 41 battalion chiefs late last year before their promotions.
In their new roles, Anunay, 45, and Clemencia, 44, help oversee nearly 100 firefighters at 11 firehouses in the District. They were selected among a pool of 44 candidates — the only two women who qualified during an interview process measuring their preparedness for the high-ranking position.
“They will create a path for all of our young, female firefighters that shows them, ‘Oh, I can do that. That’s within my reach.’ ” D.C. Fire Chief Gregory M. Dean said. “They’re pioneers.”
Before reading, please understand the deep degree to which I am an Aretha Franklin fan. I have been in rapture since I was a teen grooving to “Jump To It,” “I Knew You Were Waiting (For Me),” “Think,” and, of course, “Respect.” My devotion to her voice and musicianship only intensified when I gained full access to her catalog when I DJ’d for my college radio station. I went all the way in, past her Arista recordings, back and through her Chess, Columbia and Atlantic LPs, and never came back out.
I played her records over and over, never singing along, so as not to disrespect or sully the divinity I was taking in. Back then, during this time of discovery of the breadth of Aretha’s genius, it would have been as rude as chatting during a sermon. I could go on – there is so much more Aretha stanning in my history including the full day spent watching every hour, minute and second of her funeral – but it’s enough to get the picture.
I am in, down, and for all things Aretha.
So a few years ago when I heard about film footage existing of Aretha recording her 1972 gospel masterpiece “Amazing Grace” in Los Angeles at Reverend James Cleveland‘s New Temple Missionary Baptist Church with the Southern California Community Choir, shot over two nights by Sydney Pollack (“Tootsie,” “The Way We Were,” “The Firm”), I was ecstatic.
It didn’t get released in conjunction with the album’s 1972 release as originally planned by Warner Bros. because the film’s recording was mishandled. Pollack, who died in 2008, did not use clapper boards, a crucial tool in matching sound with filmed images in the pre-digital era. There were 20 hours of raw footage shot by five 16-millimeter cameras to sync, so the project got shelved, until the footage was re-discovered over three decades later.
The movie was then set to screen at several prominent film festivals, but Franklin herself sued to stop it from being released. So I checked my thirst out of loyalty and stood by the Queen’s side, even if it meant never seeing what I was sure would be a Technicolor feast of mind-blowing artistry.
I brightened when I heard Aretha’s beef with the project was not about its content – she reportedly loved the content – it was about the money. Okay, cool – Aretha wanted her coins as well as her respect. I hoped it would all settle quickly, because as much as a person can be in love with her recordings, watching Aretha live, doing her thing, has always been where it’s at.
Not long after her passing, producer Alan Elliott screened “Amazing Grace” for Franklin’s family and got the family’s approval for release. It was picked up by NEON Studios for North American distribution and is slated to be in theaters in the early part of this year. But when I got a chance to see the film Thursday in Los Angeles on Opening Night of the 27th Annual Pan African Film Festival (#PAFF), I jumped to it.
Even though I saw it with an audience so fully there for it, and even with my freely admitted pre-disposition towards loving it, viewing “Amazing Grace” is a sensorial experience that exceeds all expectations. This “making of” documentary is a pure, raw American musical treasure that should go down, like Aretha, as the greatest of its ilk.
In case you’ve never heard the “Amazing Grace” double album or perhaps only know Aretha from Inaugural Hat or “Great Gowns, Beautiful Gowns” Taylor Swift memes, in 1972, Aretha Franklin is 29 and at the absolute height of her recording success, fame and vocal prowess.
As Tirrell D. Whittley, another of the film’s producers, put it during the Q&A that followed its #PAFF screening, Aretha was “it” back then, the Beyoncé of her time. And while at that height, Aretha decided to honor and commune with the roots from which her unparalleled artistry grew – church music.
Listening to the “Amazing Grace” LP (still the best-selling gospel album of all time), I always imagined it was a packed Sunday morning service where Aretha was singing with a fully-robed choir joyfully bouncing in step behind her. But what the film shows you instead is nighttime, a handful of white guys with mics, wires and cameras running around, and maybe 80-90 audience members, several of them likely not even New Temple congregants (Mick Jagger and Charlie Watts from the Rolling Stones are there one night, as are gospel great Clara Ward and her mother, Mother Ward).
Aretha Franklin from the film “Amazing Grace”
The backing choir, directed with great aptitude and verve by the lively Alexander Hamilton, does not wear church robes but all-black clothing underneath Vegas-style sparkly silver vests. They look more like they are at a local talent competition than a service, and they stay seated during most of the recording. Aretha alone is robed – the first night in a long, white, bejeweled caftan and the second in a beautiful chartreuse paisley one.
It is clear from her commanding sashays down the church aisle as she enters upon introduction from Rev. Cleveland, that Aretha is not only in church, but there to put in work. On the second night Aretha enters in one of her signature fur coats. Her walk, steps, bearing are those of a queen, unashamedly in charge and full of femininity. She touches outreached hands but intentionally keeps moving at her own pace.
While Cleveland plays host with avuncular affability as he encourages the crowd from the pulpit and piano, and Aretha’s father Rev. C.L. Franklin is solicited to offer remarks, Aretha herself barely talks during either session – seemingly conserving her voice between songs. When she does talk it’s brief and at whisper level.
I think it’s both the truth of what happened those nights as well as a great dramatic device – Aretha’s singing literally speaks for her. She has such sharp focus on what she is doing and trying to achieve – Aretha comes across not as a guileless prodigy, but as a hard-working, brilliant young woman who fully knows what she is capable of and what it takes to tap into and employ her superlative gift. She is also connected enough to know when to give in to it and allow a higher power work through her.
Seeing the process with your own eyes makes it all the more impactful and palpable. When Aretha sits down at the piano and starts in on “Wholy Holy,” there is nothing to do but watch in awe. And at a certain point, song after great song, it hits you – as you take in the old-school microphones, the physical dynamics of the space and people in it, that the sound is, in a word, superb. I don’t know if it’s from remastering with present-day technology or because that audio was recorded so well back in 1972, but the depth and clarity of the music and the vocal responses to it are an aural delicacy.
The prosaic nature of the church space itself sits in humble, human contrast to the sublimeness occurring inside it. The church is not so much majestic as it is makeshift – and in the best way. The mural of Jesus on the wall behind the pulpit – let’s just say it’s barely a notch above paint-by-numbers. But looking at that amateur effort behind the woman who is evocatively singing “How I Got Over” and “What A Friend We Have In Jesus” in His name – it’s almost as if Mural Jesus sags in admission that no one could have painted an image to match the artistry and meditation of Aretha.
This is most evident during Aretha’s performance of the title track “Amazing Grace” – as she reaches higher and higher, the shouting and clapping from the audience rises and rises – people literally stand, fall, cry, and scream. Rev. Cleveland himself is so overcome by the power and beauty of what Aretha is delivering that he stops playing the piano so he can collect himself.
It’s such an incredible moment to watch – even the man running the show, a seasoned church pro – is overwhelmed and touched, all his pomp crumbling down under literal amazing grace. Many of us know that moment – when you witness something so superlative and divine, you can do nothing more than be in its presence and be thankful you exist to receive it.
The other indelible highlight in the film is Aretha’s delivery/deliverance of/during “Never Grow Old.” I have watched countless clips of Aretha performing live, at all ages and stages of her career. She is always professional and on point, but when she herself catches the spirit? There! Is! Nothing! Like! It!
Aretha is at the piano during “Never Grow Old” as you see it happening. She is so channelled and so in it that the spirit takes over the tempo, the piano, the choir, and several people in the audience. There is spirit dancing – Mother Ward falls out – an actual white towel is thrown in!
And as the towel comes towards camera, the audience watching the movie burst into laughter as did I, because it is perfect punctuation to what we were all feeling at that moment. We were in thrall and surrender to the power, the genius, the spirit, the joy that is flowing through Aretha Louise Franklin.
Even as you feel the heat, the light, the literal sweat on her brow coming at you through the screen, Aretha’s voice makes you shiver down to your bones.
The only song that doesn’t come across as powerful on film as it does on the record is “Mary Don’t You Weep.” According to producer Elliott, they did not have full visual coverage of “Mary” in the church, so they could not match it to the audio from the LP. What we do hear of “Mary” is still worthy of our time, suffering mainly from comparison to the oomph and punch so many of the other visually-realized songs have, including lesser-known songs such as “Climbing Higher Mountains” and “Precious Memories.”
But all in all, after dwelling for over 45 years in obscurity, the fact that the general public will finally get to see the best singer in the world recording the best gospel album of all time while communing in the most prolific and sustaining pillar of African-American society – the church – is the real blessing that needs to be recognized.
Even if you don’t know or revere Franklin’s work like I do but love any powerhouse singer from last 50 years, or just love music, you should see this film. For it proves without a doubt that since the sixties, all roads to enthralling, singular vocal ability, agility, facility and feeling lead back to one root, one person, one singer – Aretha. And her preternatural gift is never in finer form and potency than it is in “Amazing Grace.”
According to jbhe.com, Southern Illinois University Carbondale and the Illinois Institute of Technology have partnered with the Kapor Center to launch the Illinois SMASH Academy – a 5-week, all-expenses paid STEM summer camp for high school students from underrepresented groups in Chicago and Southern Illinois.
The Kapor Center, based in Oakland, is dedicated to leveling the playing field in tech, making the field more diverse, inclusive and better equipped to address society’s challenges and opportunities.
The Kapor Center has already established SMASH academies in California, Georgia, Pennsylvania, and Michigan. According to the center’s data, every SMASH student graduates high school and 91 percent earn a college degree within five years, 31 percentage points higher than the national rate.
The new program will accept 35 ninth graders from Chicago and 35 from Southern Illinois for the first year of the academy, which will be held at the Illinois Institute of Technology. The deadline to apply is March 1.
Participating students will attend the summer camp for three years, until they graduate from high school. They will study a variety of disciplines including math, biology, chemistry, and engineering. They will also receive SAT and ACT test prep in order to prepare them for college.
“These are future leaders,” said Meera Komarraju, interim provost and vice chancellor for academic affairs at Southern Illinois University Carbondale. “Even one kid, if they are able to pursue their dreams, for their family and the part of society they live in, this can have a big ripple effect.”
Anyone interested in the program can find more information here.
Natalie Maria Cole was born on February 6, 1950, and grew up in a heavily musical atmosphere in Los Angeles’ exclusive Hancock Park area. In addition to her famous father, jazz and pop musical legend Nat King Cole, Natalie’s mother Maria had been a background vocalist with Duke Ellington.
Cole’s own breakthrough as a musical artist came via her early 1970s association with Chuck Jackson and Marvin Yancy, who once worked with one of Natalie’s real-life idols, Aretha Franklin. Her debut album “Inseparable” came out in 1975, which included two of her signature hits – “This Will Be” (#6 on the pop charts and the title track. Her debut also garnered her Grammy Awards for Best R&B female vocals and Best New Artist.
Cole subsequently had hits with “Sophisticated Lady,” “Mr. Melody,” “I’ve Got Love on My Mind,” “Our Love,” “Stand By,” “What You Won’t Do for Love,” “Hold On” and “Nothing But a Fool,” along with more platinum and gold albums. Acute drug problems, however, hindered her career and Cole eventually took time off time for recovery.
In 1985, Natalie released, in what was the start of a comeback, her album “Dangerous” for Modern Records. Late 1980s pop singles included “Jump Start My Heart,” “Miss You Like Crazy”, “Pink Cadillac” and “I Live for Your Love.”
In the midst of her ebb-and-flow R&B success, in 1991 Cole shifted into her familial jazz roots to record a new CD, “Unforgettable…with Love,” paying homage to her late father. With the help and encouragement of family, Cole re-arranged and re-recorded some of his greatest songs in the same studio that he recorded (Capitol Studios), used some of the same musicians and even recreated one of his signature songs, the title tune “Unforgettable,” with a technological effect that appeared as if they were dueting together.
Never before or since has this been pulled off and marketed so successfully. Not only did it sell well over 30 million copies, it would become an eight-time over platinum winner. It earned several awards on Grammy night, including “Album of the Year” and “Record of the Year,.”
Over time Natalie began covering more jazz standards. A jazz CD in 1994 also captured a Grammy. In addition, Cole branched out into occasional acting roles, including the social drama Lily in Winter (1994) and the autobiographical feature film Livin’ for Love: The Natalie Cole Story (2000) in which she played herself. She has also made infrequent acting appearances on such shows as “I’ll Fly Away,” “Law & Order,” “Touched by an Angel” and “Grey’s Anatomy.”
Cole passed away from congestive heart failure on December 31, 2015 in Los Angeles. She was 65 and is survived by one son, Robert Adam Yancy.
From left, brothers Collin, Austin and Ryan Gill run Freres Branchiaux. (Chanel Jaali Photography)
According to the Washington Post, brothers Collin, 13, Ryan, 10, and Austin Gill, 8, started their candle business Frères Branchiaux for two reasons: to afford the Nerf guns and video games they wanted and, more importantly, to help raise money to combat homelessness in the District.
“I want to give back to the community because they gave to us,” Ryan says.
The brothers donate 10 percent of their proceeds to homeless shelters in the area, a promise they’ve kept since launching Frères Branchiaux in 2017.
Demand has grown rapidly for their scented, soy-based candles, which can be purchased at several stores in D.C. and at select Macy’s across the country.
The Gill brothers are pretty busy with school and their business, so they would make the most of a D.C. dream day and explore some of their favorite places around the city, along with a few new ones.
Now that the government shutdown is over and national museums are open again (unless that mess happens again), Black History Month is an especially poignant time to visit the National Museum of African American History and Culture (NMAAHC) if you are in the D.C. area.
I had the good fortune to visit NMAAHC two years ago, and still remember acutely its “Making a Way out of No Way” exhibit, which focusses on the six avenues African-Americans pursued post-slavery to gain equity and agency in the United States – Activism, Enterprise, Organization, Education, Faith, and… the Press.
Because of my lifelong interest in journalism, I am personally drawn to stories about the Black Press, which has existed in some form since antebellum times (the first black publication of record is theFreedom Journal in 1827), and exists to this day.
Yet so many don’t know about its rich history and how its presence and its reporters not only served often unrecognized communities, but also were (and still are) deeply involved in activism and social justice at every turn in every era on local, state and national levels.
Long before former White House Press Secretary Sean Spicer attempted to call out American Urban Radio Networks’ correspondent April Ryanfor giving him what he thought was a disrespectful headshake whilesimply trying to do her job, Ethel Payne was agitating White House officials in the press room on a daily.
Payne set the standard in the 1950s when she became one of only three black journalists to be credentialed as a member of the White House Press Corps.
Known as the “First Lady of the Black Press,” Payne was a columnist, lecturer, and freelance writer. She combined advocacy with journalism as she reported on the Civil Rights Movement during the 1950s and 1960s, and was known for asking questions others dared not ask.
It was just unheard of for blacks to be standing up and asking presidents impertinent questions and particularly a black woman. – Ethel Payne
Payne became the first female African-American commentator employed by a national network when CBS hired her in 1972. In addition to her reporting of American domestic politics, she also covered international stories, and questioned every president from Eisenhower to Reagan.
As Payne’s biographer, James McGrath Morris, who wrote Eye on the Struggle: Ethel Payne, the First Lady of the Black Press says,“Her not being known today is really a legacy of segregation, in that she was iconic to a large segment of the U.S. population, but like most black institutions, the Chicago Defender was entirely invisible to white Americans. So the notion of discussing civil rights with the President of the United States, in that case Eisenhower, she felt she was part of ‘the problem’ and couldn’t pursue typical objective reporting. Instead she adopted a measure of being fair. It may seem like a small distinction but it wasn’t. Her questions were laden with an agenda.”
Born in Chicago, Illinois, the granddaughter of slaves, Payne’s father worked as a Pullman Porter, one of the best jobs open to African Americans in those times. He died at age forty-six after contracting an deadly infection from handling soiled linens and clothes on the train, when Ethel was fourteen years old. Her mother then took various domestic jobs to support the family, which made it difficult to educate all of her children.
Ethel spent her childhood in the predominantly black neighborhood of West Englewood bit attended Chicago public schools, notably the mostly white Lindblom Technical High School. Payne longed to be a writer and pushed to continue her education at Crane Junior College and the Chicago Training School for City, Home, and Foreign Missions.
As Payne’s biographer, James McGrath Morris, who wrote